Bob Marley dies - May 11, 1981 - HISTORY.com Bob Marley dies Publisher A+E Networks In what would prove to be the next to the last concert of his tragically short life, Bob Marley shared the bill at Madison Square Garden with the hugely popular American funk band The Commodores. With no costumes, no choreography and no set design to speak of, “The reggae star had the majority of his listeners on their feet and in the palm of his hand,” according to New York Times critic Robert Palmer. “After this show of strength, and Mr. Marley’s intense singing and electric stage presence, the Commodores were a letdown.” Only days after his triumphant shows in New York City, Bob Marley collapsed while jogging in Central Park and later received a grim diagnosis: a cancerous growth on an old soccer injury on his big toe had metastasized and spread to Marley’s brain, liver and lungs. Less than eight months later, on May 11, 1981, Bob Marley, the soul and international face of reggae music, died in a Miami, Florida, hospital. He was only 36 years old.

Nesta Robert Marley was born on February 6, 1945, in rural St. Ann Parish, Jamaica, the son of a middle-aged white Jamaican Marine officer and an 18-year-old black Jamaican girl. At the age of nine, Marley moved to Trench Town, a tough West Kingston ghetto where he would meet and befriend Neville “Bunny” Livingston (later Bunny Wailer) and Peter McIntosh (later Peter Tosh) and drop out of school at age 14 to make music. Jamaica at the time was entering a period of incredible musical creativity. As transistor radios became available on an island then served only by a staid, BBC-style national radio station, the music of America suddenly became accessible via stateside radio stations. From a mix of New Orleans-style rhythm and blues and indigenous, African-influenced musical traditions arose first ska, then rock steady—precursor styles to reggae, which did not take shape as a recognizable style of its own until the late 1960s.

Bob Marley, Peter Tosh and Bunny Wailer performed together as The Wailers throughout this period, coming into their own as a group just as reggae became the dominant sound in Jamaica. Thanks to the international reach of Island Records, the Wailers came to the world’s attention in the early 1970s via their albums Catch a Fire (1972) and Burnin’ (1973). Eric Clapton spread the group’s name even wider by recording a pop-friendly version of “I Shot The Sheriff” from the latter album.

With the departure of Tosh and Wailer in 1974, Marley took center stage in the group, and by the late 70s he had turned out a string of albums— Exodus (1977), featuring “Jamming,” “Waiting In Vain” and “One Love/People Get Ready;” Kaya (1978), featuring “Is This Love” and “Sun Is Shining”; and Uprising (1980), featuring “Could You Be Loved” and “Redemption Song.” While none of the aforementioned songs was anything approaching a hit in the United States during Bob Marley’s lifetime, they constitute a legacy that has only increased his fame in the years since his death on this day in 1981. Related Videos Bob Marley dies from cancer in 1981 - NY Daily News Bob Marley dies from cancer in 1981 Bob Marley dies from cancer in 1981 NEW YORK DAILY NEWS Bob Marley, internationally acclaimed Jamaican reggae singer-songwriter, infused his music with Rastafarian teachings and poitical messages.

(Handout) NEW YORK DAILY NEWS Thursday, February 5, 2015, 12:00 PM (Originally published by the Daily News on May 12, 1981 . This story was written by Bill Carlton.) After a long battle with cancer, Bob Marley, 36, the king of reggae music, died yesterday in Cedars of Lebanon Hospital in Miami. Marley and the group which he led - the Wailers - were acclaimed for their fiery brand of reggae, a heavily political and religious blend of rock and pop music that originate in Jamaica. The music espouses the teachings of Rastafarianism. Remembering the life of Bob Marley Eric Clapton took one of Marley’s song, “I Shot the Sheriff,” to the No.1 spot on the charts five years ago. Marley was flown to Miami Thursday from West Germany, where he had been receiving treatment for lung cancer and a brain tumor since the end of last year,according to his record company, Island Records. New York Daily News May 12, 1981.

Bob Marley Bob Marley recorded with the Wailing Wailers in the 1960s. Their single "Simmer Down" became a Jamaican #1 in 1964. (Michael Ochs Archives) Bob Marley struck out on his own and recorded the hugely popular album "Exodus" in the 1970s. Here he is performing in front of an audience of 40,000 during a concert in Paris. (AP) The politcal nature of Bob Marley's career and music had made him a target. In 1976, two days before "Smile Jamaica" concert, he and his family were assaulted but he played regardless. (Brathwaite, Kwame) Bob Marley considered cannabis a healing herb and supported legalizing the drug. Here he is outside a London court where he was accused of cannabis possesion. (John Rodgers/Redferns) The statue of Bob Marley stands in Kingston, Jamaica to honor his memory. It stand next to the National Staduim on Arthur Wint Drive.

(COLLIN REID/ASSOCIATED PRESS) A company spokesman said Marley’s cancer was diagnosed last fall after the Wailers’ final concert at Madison Square Garden. He was treated here before flying to the Bavarian clinic of Dr. Josef Issels, the spokesman said. Marley was born in Jamaica in 1945, the son of an English army captain and a Jamaican woman. He made his first record, a single, “One Cup of Coffee,” in 1962, after Jimmy Cliff introduced him to a local promoter. The Wailers were formed two years later. Their first record, “Simmer Down,” written by Marley, was a hit in Jamaica. Tags: Bob Marley's funeral, 21 May 1981: a day of Jamaican history | Music | The Guardian The Observer Bob Marley's funeral, 21 May 1981: a day of Jamaican history Richard Williams was at Bob Marley's funeral 30 years ago in Jamaica.

He recalls an extraordinary carnival of music, prayer and full Rasta pageantry Bob Marley in 1975, two years before he was diagnosed with the malignant melanoma that would lead to his death in May 1981. Photograph: Jonathan Player/ Rex Features Saturday 23 April 2011 19.04 EDT First published on Saturday 23 April 2011 19.04 EDT Share on Messenger Close They buried Bob Marley on 21 May 1981 at Nine Mile, the village where, 36 years earlier, he had been born. His heavy bronze coffin was carried to the top of the highest hill in the village and placed in a temporary mausoleum painted in the colours of red, green and gold. Alongside Marley's embalmed corpse, the casket contained his red Gibson Les Paul guitar, a Bible opened at Psalm 23, and a stalk of ganja placed there by his widow, Rita, at the end of the funeral ceremony earlier in the day.

On the night of his death, on 11 May, I had gone to the Island Records studios in an old church in Notting Hill, west London, where Aswad had been cutting tracks in the very basement studio where Bob had completed Catch A Fire, his breakthrough album, nine years earlier. But it was long after midnight, and the musicians had gone home after watching the tributes to the dead man hurriedly assembled by the British TV networks. The only people left were a caretaker and one of Aswad's roadcrew, both Jamaicans. "A sad day," I said, unable to think of anything more profound or perceptive. They raised their eyes, and the roadie paused in the middle of rolling his spliff. "Jah give," he replied, "and Jah take away." That was the mood in Kingston when Marley's body arrived on a flight from Miami a few days later. There was no reason to grieve, the Rastas told anyone who expressed sorrow. Death meant nothing. Bob hadn't gone anywhere. He was still among us. The announcement of the country's national budget was postponed by several days to accommodate Marley's state funeral.

Invitations had to be sent out, the mausoleum had to be constructed, and security had to be organised at the National Arena, where the main ceremony would be held. And the prime minister, Edward Seaga, had to prepare his eulogy. On the day before the funeral, the coffin was placed in the arena, a large, gymnasium-like building. The lid was open and the public – an estimated 100,000 of them – were allowed to file past to take a final look. Marley's head was once more covered with dreadlocks; but this was a wig which covered his bald skull, his own hair having been lost during his treatment for cancer in New York, Miami, Mexico, and finally the Bavarian clinic of Dr Josef Issels, following the diagnosis of a malignant melanoma four years earlier. In Jamaica , everyone claimed to be Bob's friend. "Sure I knew him," the cab driver who picked me up at Norman Manley Airport said. "He smoked the herb of life." And he passed his spliff over his shoulder to his friend in the back seat, a uniformed policeman.

The day of the funeral began with an hour-long service for family and close friends at the Ethiopian Orthodox Church of the Holy Trinity on Maxfield Avenue, presided over by His Eminence Abuna Yesehaq, the church's archbishop in the western hemisphere, who had baptised Marley in New York the previous November, just after his last triumphal concerts at Madison Square Garden. Bob's baptismal name was Berhane Selassie – "Light of the Trinity". At the end of the short service the coffin was transported to the National Arena, where the 6,000-strong congregation were assembling under the eyes of cameras and reporters from around the world. Above the entrance, a huge banner proclaimed: "Funeral Service of the Honourable Robert Nesta Marley, OM". The Order of Merit had been conferred a few weeks before his death. The casket was carried into the hall on the shoulders of a score of white-jacketed guards of the Jamaica Defence Force.

Inside and out in the street, a powerful public address system blasted out Bob's records, while in the surrounding avenues the hawkers of badges, posters, soft drinks and ganja worked the large numbers of people who had arrived without invitations and were prepared, if they could not get in, to listen to the ceremony as it was relayed by the loudspeakers. "Babylon system is a vampire," Bob's voice wailed as the coffin was deposited on a trestle table in the middle of the broad stage and covered with two flags, the green, gold and black of Jamaica and the red, green and gold of Ethiopia. The decorations were the work of Neville Garrick, the creator of all the Wailers' album cover art from 1976's Rastaman Vibration to 1980's Uprising. The balconies were open to the public, and filled up quickly, but on the floor the rows of chairs were marked with signs: Family, Government, Press, Twelve Tribes of Israel, Musicians. Photographers swiftly surrounded Cedella Booker, Bob's mother, in whose Miami home he had died, as she took her place.

She was followed by his widow and some of his children, including his sons Ziggy, aged 12, the nine-year-olds Steve and Robert Junior, born to different mothers, and Julian, aged five, and his daughters Cedella, 13, and Stephanie, six. Applause saluted the entry of Michael Manley, the former prime minister, whose pro-Cuban policies had provoked the disastrous enmity of the US government and the International Monetary Fund, and who had been deposed by Seaga at an election six months earlier. The Rastafarians, in particular, still saw Manley as a friend of the oppressed, and there was an obvious contrast with the polite but tepid response accorded to Seaga, who hurried to his seat surrounded by uniformed guards. The governor-general of Jamaica, Sir Florizel Glasspole , ON, GCMG, CD, the Queen of England's official representative, arrived from his residence, the palatial Devon House, to provide an appropriate symbol of the island's colonial history, a living reminder that the ancestors of most of those present had been brought from Africa four centuries earlier to form the world's only entirely slave-based economy.

The formal guard of the Ethiopian church, elderly men and women in white robes, took their places around the coffin and the centre of the stage was soon filled with the church's elders, in robes of varied and vivid design. On the right of the platform a riser had been built for the choir and for the United Africa Band, a group consisting of several percussionists, a bass guitarist and organist, directed by Brother Cedric Brooks. To the left, another riser was covered with amplifiers, keyboards and drums, all stencilled with the legend "Bob Marley and the Wailers". A voice came over the loudspeakers. "Brothers and sisters, this is a funeral service for the late Bob Marley. Please don't forget that. The selling of all merchandise must stop now." In the row in front of me, the producer Harry J, accompanied by his latest protegee, the singer Sheila Hilton, was in conversation with a Rasta wearing a red, green and gold tam o'shanter. "There has to be a revolution to get a solution," the Rasta proclaimed. Harry J didn't seem to be entirely in agreement.

I wondered if, under the armpit of his glossy silk suit, he was stillpacking the silver Smith & Wesson revolver I'd seen him remove from the glove compartment of his Oldsmobile as he took Chris Blackwell and me to a Catch A Fire session in his studio nine years earlier, the day after Marley and Blackwell had signed the deal that would set the whole phenomenon in motion. A little while after the scheduled hour of 11 o'clock, the service began with an Anglican hymn, "O God, Our Help in Ages Past", accompanied by the drummers of the United Africa Band. As the familiar 18th-century melody – written by William Croft, an Oxford scholar and composer to Queen Anne, whose remains lie in Westminster Abbey – died away, the archbishop, standing beneath a parasol held by an acolyte, began to read passages from the Anaphora of John, Son of Thunder and the Anaphora of St Mary, rendered in Ge'ez, the ancient tongue of Ethiopia, and Amharic.

The governor-general stepped forward, a small, portly figure, to read the first lesson, taken from 1 Corinthians: "The last enemy that shall be destroyed is death." The congregation sang another hymn, coincidentally a favourite of Elvis Presley: "Then sings my soul, my Saviour God, to Thee/ How great Thou art, how great Thou art." Manley read from 1 Thessalonians: "Therefore, brethren, we were comforted over you in all our affliction and distress by your faith/ For now we live, if ye stand fast in the Lord." Then, to the delight of the Rastas in the balcony, it was the turn of the dreadlocked Allan "Skill" Cole, Jamaica's finest footballer and one of the dead man's closest friends. Cole was wearing the raiment of the Twelve Tribes of Israel, a popular sub-sect of Rastafari founded in Jamaica in the late 1960s and with whom Marley had long been associated; his inclusion in the proceedings had been tolerated by the Ethiopian elders, to whom the Rasta doctrines represented a form of heresy, only under protest.

He had been scheduled to read from Psalm 68, which bears the subtitle "To the chief musician, a psalm or song of David". Instead he announced that he proposed to deliver passages from Corinthians and Isaiah particularly dear to Rastafarian hearts. Mutterings and shufflings among the church dignitaries on the platform were answered by sounds of delighted approval from the congregation. Their mood turned to boisterous glee as the footballer refused to heed urgent requests to leave the platform, continuing with his reading before returning to his seat amid the sounds of triumph. The archbishop, clearly annoyed, recovered his composure in time to read the Beatitudes – "Blessed are the poor in spirit; for theirs is the kingdom of heaven" – and to lead the Lord's Prayer before Seaga delivered a eulogy memorable only for its closing benediction: "May his soul," intoned the man in the dark business suit, "rest in the arms of Jah Rastafari." Even the Twelve Tribes could scarce forbear to cheer this explicit recognition of their usually ignored presence within Jamaican society. The archbishop's address contained an implicit rebuke of Skill Cole in a direct address to the Rastas in the hall.

Why advocate repatriation to Africa, he demanded, when it would profit them more to work together for a better life in Jamaica? "Jah!" they shouted in defiance as he spoke. "Rastafari!" The most extraordinary moment of the ceremony, the most beautiful and un-European, came after the members of Marley's old band mounted the stage. The I-Threes – Rita Marley, Judy Mowatt and Marcia Griffiths – sang "Rastaman Chant" to a ponderous and mournful rhythm before the Wailers, directed by the guitarist Junior Murvin, struck up "Natural Mystic". It was during this song, while the crowd was getting to its feet and moving towards the stage to join what had suddenly been transformed from an obsequy to a celebration, that Ziggy and Stevie Marley could be seen dancing among the musicians. Identically dressed in maroon suits and white shoes, they performed joyous imitations of their late father's distinctive stage choreography, and the resemblance was such that the congregation gasped at the sight. When the engineer at the mixing desk superimposed a recording of Bob's voice above the band's heavyweight rhythm, the effect was hallucinatory.

Cedella Booker closed the service. Accompanied by two other women, she delivered "Amen" – written by Curtis Mayfield, whose music had inspired Marley's earliest efforts – in a powerful voice as her listeners swayed to the rhythm. Then the musicians put down their instruments, lifted the coffin on to their shoulders and carried it through the hall and out into the roadway, where it was placed in a hearse, ready for the 50-mile journey to the place where Marley's life had begun. As the cortege left Kingston, it passed by the house at 56 Hope Road whose walls still bore the scars from the bullets that narrowly failed to kill Marley in a politically motivated attack in 1976. On South Camp Road, outside the Alpha Boys School, where many of Jamaica's finest musicians had been taught to play by an inspiring teacher named Ruben Delgado, pupils sang "No Woman, No Cry" as the procession headed towards Marcus Garvey Drive and out of the city on the road towards Spanish Town .

Crossing the parish of St Catherine to the town of Bog Walk, where the road splits right to Port Maria and left to Ocho Rios, the cars turned north-east through Moneague and past the 2,000ft peak of the mountain called Friendship, taking the left fork past Claremont and into the parish of St Ann, skirting the foothills of the Dry Harbour Mountains and on through Brown's Town. All along the route, people came out of houses, schools, farms and workshops to stand by the roadside. Finally, in mid-afternoon, the dead man and his companions arrived at Nine Mile, a hamlet set at the end of a single-track road among gentle, verdant red-clay hills. A helicopter buzzed overhead, carrying a film crew, their cameras trained on slopes covered with white-robed figures. Rastas from all over the island had set off early to be in place when the cortege arrived. Policemen fingered machine guns but disorder was minimal, despite the crush as the coffin was removed from the hearse and carried by many willing hands up to the small temporary mausoleum.

Nine Mile turned out to be no more than a scattering of shanties, with one or two bars and a small single-storey stone building consecrated, according to a handwritten sign, to the use of the Holy Baptist Church of the Fire of God of the Americas . This was a place where workers in the sugar plantations set in the flatlands towards the sea had built their homes and quietly cultivated their modest crops. It was here, on 6 February 1945, that Cedella Booker had brought Bob Marley into the world, and it was here, only a few paces away from the mausoleum, in a tiny two-room shack, that Bob and Rita had returned for a year at the end of the 1960s, to nurture their first child. After a brief ceremony of interment, the convoy departed, followed by the police. Only the Rastas remained. For the last time, Junior Murvin and Neville Garrick climbed the low mound to the mausoleum, picking their way through empty Red Stripe cans, the music they helped to send around the globe throbbing from cassette players. As the light began to fail, the vendors of ice creams and soft drinks packed their goods away.

The thump of the helicopter's rotors receded. The white-robed members of the Twelve Tribes of Israel melted into the dusk. Bob had come home. How Did Bob Marley Die? Bob Marley died from cancer in a Miami hospital on May 11, 1981. He helped popularize Jamaican music, from ska to reggae . Death of Bob Marley Bob was diagnosed with malignant melanoma in 1977, and continued working, releasing the album “Kaya”, which was on the charts in Britain for 56 weeks. He began to tour around the world, and performed in Zimbabwe in 1980 to celebrate the country's independence from the United Kingdom. While jogging, Bob collapsed and in the examination, it was found that the cancer had spread to his brain, liver, and lungs. He was awarded the Jamaican Order of Merit in February of 1981. He went to Germany to see a cancer specialist, and on his way to Jamaica, he stopped in Miami to receive emergency medical care. He died at the Cedars of Lebanon Hospital on May 11, 1981, at the age of 36.

Bob Marley has been called a visionary, a Third World superstar, and a revolutionary artist. He was all this and more, and brought Jamaican music to the world. Jamaican Music Ska is a type of music which originated in Jamaica in the late 1950s. It combines Jamaican folk music, calypso, American jazz, and rhythm and blues. It has a walking bass line with rhythms on the upbeat, rather than the downbeat. Rocksteady came on the scene after ska, around 1966. It came from a dance style which was slower than ska dances. It has a more relaxed feel to it than ska, with the bass being more noticeable and the bass line has more discontinuity. Reggae developed in the late 1960s, and is a very rhythmic style of music. The emphasis is on the second and fourth beats, giving it that characteristic lifting feel. Reggae is slower than ska but faster than rocksteady. Biography of Bob Marley He was born Nesta Robert Marley on February 6th, 1945, in a small village in Jamaica. When he started going to school, he also began reading palms and telling the villagers their future.

His father took him to live in Kingston, and a year later, his mother brought him back home. He became friends with the son of his mother’s boyfriend Neville "Bunny" Livingston, and soon told her that he was now going to sing instead of reading palms. In 1957, he and Bunny made guitars from sticks and cans, they sang, and wrote songs. He left school at 14 to be a welder’s apprentice. In 1961, he began to focus on music, making a singing group called “The Teenagers” with Bunny and another friend, Peter McIntosh. Bob’s first singles were recorded in 1962, on the Beverley label: "Judge Not (Unless You Judge Yourself)" "Terror" "One Cup of Coffee" In the next few years, there were more members added to the band, and soon the name was changed to The Wailing Rudeboys," then to "The Wailing Wailers," and finally, "The Wailers.” Their first single, “Simmer Down” rose to number one on Jamaica’s JBC Radio chart.

Bob married Rita Anderson in 1966, but moved the next day to Delaware where his mom lived and worked, returning home later in the year. He set up his own recording label and converted to the Rastafarian religion. He started dreading his hair and eating a natural diet according to his new religion. In 1967 The Wailers recorded over 80 songs, and in 1971, they released “Soul Rebels” that was their first song to be released outside of Jamaica. The Wailers’ first album, “Catch a Fire” was released in 1973, as was their next album, “Burnin,’” which included the song “Get Up, Stand Up.” In 1974, The Wailers disbanded and Bob found other musicians to continue. He saw more hits in 1975, and in 1976, he relocated his family to England. 30 Years After Bob Marley's Death | PBS NewsHour Burnett’s portfolio, ‘Soul Rebel: An Intimate Portrait of Bob Marley,’ was collected into a book and published by Insight Editions in 2009.

He is represented by Contact Press Images . A transcript is after the jump. JEFFREY BROWN: Welcome again to Art Beat. I’m Jeffrey Brown. Today marks the 30th anniversary of the death of music legend Bob Marley. The Jamaican reggae star died young in 1981. He was just 36. He died from cancer, and he left behind a legacy that reaches across musical genres, ages and around the world. Joining me today on the phone is David Burnett. He’s a photojournalist who was sent to Jamaica in 1976 by Time magazine to profile Marley and helped to introduce him to an American audience. A year later, Rolling Stones sent Burnett to cover Marley’s “Exodus” tour, covering everything from concerts to quiet down time. His portfolio, “Soul Rebel: An Intimate Portrait of Bob Marley,” is collected into a book and published in 2009. Welcome to you. DAVID BURNETT: Thanks. It’s a pleasure to be here. JEFFREY BROWN: I understand that when you first got this assignment to go down there you didn’t know who Bob Marley was?

DAVID BURNETT: I have a 25-year-old daughter, and of course she’s always giving me that, Oh dad, how can you not know something? But in fact in 1976 the whole world of reggae was pretty unknown to a North American audience. You had to have either spent time in London or in Jamaica to understand what reggae was about. And it’s true, I spent the first few days — we were in Ocho Rios with some people from the music business and a couple of other bands, and the interesting thing was all along the way everybody that we ran into would say, Well, when are you going to see Bob? As if that was the one thing that you had to do on a trip like this. JEFFREY BROWN: What was your first impression when you did see Bob? DAVID BURNETT: We met him at Tuff Gong, which was his home and what’s become the Marley Museum in Kingston.

And when you compare the ’70s with now, we had, I think, one person from Island Records kind of came along with the writer and I, and he was there really just to make sure that we got delivered to the right house. There was no team of publicists and anything that happens these days in the world of show business or music. You’ve got all these hangers-on that are trying to prevent anything real from happening. JEFFREY BROWN: Yes, yes, I’m familiar with that. DAVID BURNETT: Bob just kind of invited us to come in, and I was with the writer Dave DeVoss, and we spent a couple of hours just hanging out and talking. And David did his interview, and again, I was pretty lucky because this was one of those things where the interview time can be really rich mining for a photographer, because it gives the subject time to be thinking about other things other than, Gee, when is this photographer going to be finished shooting my picture?

And so when you get really into the discussion about politics and music and all the things that Marley and his music came to stand for, it gave me the time to kind of hop around the room and make some pretty good pictures. And he could not have been any easier to work with or more welcoming. It was just — he was just very cool. A year later, as you mentioned, when I caught up with him on the “Exodus” tour, I had a copy of one of the French magazines with me that had also run some of the photos. And I showed him some of the stuff and he remembered it, and at that moment he kind put it all together and like, I was cool. JEFFREY BROWN: This, as you say, came from a very distinctive scene and situation in Jamaica. As you said, you met other musicians along the way, but tell us about the time and place, where he was living and kind of creating this music? DAVID BURNETT: His compound was, as I recall, it was some kind of post-colonial housing, some nice, big, airy rooms with windows and a lot of breezes and fans and very simple, though. Unadorned.

It was not so much a showplace or a showcase as it was just a very comfy place to be. I think that to me really kind of reflected what he was about. He was somebody who had very strong opinions, but he was pretty cool about them. I never saw him get angry or anything. It was just a very cool discussion, and we went through politics and talking about the injustice of what was going on then in Jamaican politics and how music related to that. A couple of years ago I actually got back in touch with Dave DeVoss, the writer, and I said, You don’t by any chance happen to have that audio cassette from our interview with Bob Marley, do you? And he just kind of laughed and he said, You know, I probably did another 20 or 30 interviews. And those days that’s what everybody did. You had your one cassette. Nobody archived their cassettes. And I just feel bad, because I know that to be able to just sort of sit down and play that couple of hours back would be wonderful, and it would be a whole other side of Bob that people I’m sure would have enjoyed hearing.

JEFFREY BROWN: What comes through in the music, looking at politics, looking at life, looking at injustices, as you say, that was real? DAVID BURNETT: Absolutely. Yeah, and his growing up years were not easy. I think he had really been there. He was one of these guys who in his own experience, he wasn’t writing about something that he didn’t know about. And I think the way he wrote and presented his music was very indicative of how he felt. You know, I’ll be just walking down a sidewalk just about anywhere and for me it’s the No. 1 song on the iTunes in my brain is “No Woman No Cry.” If there’s any void that just starts to play. For me that’s the one song of his that is the most touching and real…if you listen to the narrative you just kind of feel like you’re there on a cold morning with the steam rising up. I remember like everybody else when we got the news that he passed away. And he and I are about the same age. He was about a year older than I was, and I just felt like this is way, way too early, way too young.

JEFFREY BROWN: Spending that time and being the fly on the wall, especially when you see him in concert, did you develop a theory on why he stood out, or why even now so many years later — DAVID BURNETT: I would leave that maybe to the anthropologists, but there’s no doubt that there is attraction to his music and the poetry of his music that is just indescribable. One of the really wonderful things was two years ago when “Soul Rebel” first came out, we had an exhibition of photographs in Washington, D.C., at the Govinda Gallery. I spent maybe four Saturdays there, just kind of being there while I watched the people come in to see the photographs. And it was this amazing mixture of people, kind of my age in their 50s and maybe early 60s, and they would be there with their teenage kids because they really wanted their kids to know who Bob Marley was. And some of these folks had actually been to a Marley concert or two when they were younger. And then at the same time coming in, you would have 14-year-old kids dragging their parents in because they wanted their parents to know who Bob Marley was.

And so it just was astonishing and wonderful at the same, just to see the breadth of the attraction to the music and to the message, and it just cut across every set of lines — age, sex, economic background. People love the music and they really relate to him. JEFFREY BROWN: All right, photojournalist David Burnett on his experience with Bob Marley, who died 30 years ago today. Thanks so much for talking to us. DAVID BURNETT: Surely. Thank you very much. JEFFREY BROWN: And thank you for joining us once again on Art Beat. I’m Jeffrey Brown.

Articles about Bob Marley by Date - Page 3 - latimes ARTICLES ABOUT BOB MARLEY BY DATE - PAGE 3 CALIFORNIA | LOCAL Bob Marley's mother wrote 2 bios of him April 20, 2008 | From Times Staff and Wire Reports Cedella Booker, 81, the mother of Jamaican music legend Bob Marley who wrote two biographies of her famous son and recorded two albums, "Awake Zion!" and "Smilin' Island of Song," died in her sleep April 8 at her Miami home, apparently of natural causes, a family spokesman said. Booker, a Jamaica native, was 18 when she married Norval Marley, a British man 32 years her senior. Their son brought Jamaican reggae music to global prominence, becoming its international image. Bob Marley died in Miami of a brain tumor in 1981 at age 36. Booker's survivors include several grandchildren, among them Ziggy Marley, who won four Grammys with the Melody Makers, a band that included his brother Stephen and sisters Sharon and Cedella.

Advertisement Marley's family withholds music March 25, 2008 | From Bloomberg News The Weinstein Co., the studio that bought the movie rights to the autobiography of reggae legend Bob Marley's wife, may have to make the film without his music. The family of Bob Marley, which is co-producing a documentary of the singer by Martin Scorsese, said in a statement Monday that it won't license his music for the Weinstein movie based on Rita Marley's book, "No Woman No Cry: My Life With Bob Marley." The Scorsese documentary, co-produced by Steve Bing, is the "best way to represent our father's life from his perspective and any other film project pertaining to our father will be empty without his music to support it," Ziggy Marley said in the statement. ENTERTAINMENT Bandmate of Marley loses suit May 16, 2006 | From the Associated Press The longtime bass player for Bob Marley's group the Wailers lost his London lawsuit Monday seeking a share of the late reggae legend's royalties.

Aston "Family Man" Barrett was seeking the equivalent of up to $115 million he claimed he was owed since Marley died in 1981 without making a will. ENTERTAINMENT Shining without help of spotlight May 1, 2006 | Steve Appleford, Special to The Times The big names sell tickets, but some of the finest moments of the Coachella Music and Arts festival can often be found elsewhere, surprising fans year after year on the smaller stages, scattered across the site's 78 grassy acres. On the weekend's opening lineup, those moments included stirring sets of varying styles by Cat Power, Damian Marley, My Morning Jacket and the Eagles of Death Metal. ENTERTAINMENT He's a mystic, mon February 12, 2006 | Chris Lee, Special to The Times NOTHING in the Talmud specifically forbids Orthodox Jews from stage-diving at live gigs. And nowhere does Jewish scripture recommend precisely how one should behave in the mosh pit.

So Jewish reggae phenom Matisyahu had to learn through trial and error that it was a good idea to clip his yarmulke into his hair so it wouldn't fall off when he bobbed his head to a hip-hop beat. ENTERTAINMENT R.I.P.? Not rapper B.I.G. October 3, 2005 | Chris Lee, Special to The Times "Hold Ya Head," a new song pairing Notorious B.I.G., who was shot to death in 1997, and reggae icon Bob Marley, who died in 1981, is the latest beyond-the-grave collaboration to push the limits of musical repurposing. The track electronically unites two performers who never so much as shook hands during their lifetimes, much less spent time together in a recording studio. "It used to be that when an artist died, his career was over," said Nelson George, author of "Hip Hop America." ENTERTAINMENT Bob Marley song to get first release September 24, 2005 | Randy Lewis A previously unknown recording by reggae icon Bob Marley is slated to be released in November on a new compilation album, England's NME.com reports.

The song, "Slogans," was found last year by Marley's son Ziggy among uncataloged tapes in the family's archives. The acoustic demo recording is believed to have been recorded in Miami in 1979 and has been completed with instrumental overdubs added by other musicians, including Eric Clapton. ENTERTAINMENT Mixing up the Marley sound September 18, 2005 | Baz Dreisinger, Special to The Times THE international audience at Jamaica's annual Reggae Sumfest -- the weeklong summer festival considered the creme de la creme of reggae shows -- is a handy public opinion poll. The popularity of an artist is commensurate with the number of lighters raised during his or her performance. And at this year's show, one artist sparked fire like no other. Granted, that artist had the benefit of a noteworthy name: Damian Robert Nesta Marley, the youngest of Bob's sons. (He's even known as "Jr. ENTERTAINMENT He's truly a man of the world July 3, 2005 | Don Heckman, Special to The Times It's after midnight in London, but Chris Blackwell's voice is full of enthusiasm.

He has a new project and he's eager to discuss it. "I'm always up late, working," he says over the phone. "And this is something I'm really excited about." "This" is "Vedic Path," the first release in a series of CD and DVD world music packages developed for Palm World Voices, a new partnership between Blackwell's Palm Pictures label and Universal Music Enterprises. ENTERTAINMENT Pictures painted in gray April 24, 2005 | Baz Dreisinger, Special to The Times Doves "Black and White Town" (Director: Lynne Ramsey) *** The Manchester pop-rock trio sings about a "Black and White Town," but the song's video is colored in less dramatic shades of beige, brown and wan gray. Shot with hand-held cameras in Glasgow, Scotland, the video -- which presents teens confronting tedium, in what looks to be a housing project -- is as haunting as the song, a tuneful cacophony of uneven chords and reverberating vocals.

Bob Marley | rhino.com Bob Marley Stream the Album Inductee: Bob Marley (vocals, guitar; born February 6, 1945, died May 11, 1981) Bob Marley was reggae's foremost practitioner and emissary, embodying its spirit and spreading its gospel to all corners of the globe. His extraordinary body of work embraces the stylistic spectrum of modern Jamaican music - from ska to rock steady to reggae - while carrying the music to another level as a social force with universal appeal. Few others changed the musical and cultural landscape as profoundly as he. As Robert Palmer wrote in a tribute to Marley upon his induction into the Rock and Roll Hall of Fame, "No one in rock and roll has left a musical legacy that matters more or one that matters in such fundamental ways." There's no question that reggae is legitimately part of the larger culture of rock and roll, partaking of its full heritage of social forces and stylistic influences.

In Marley's own words, "Reggae music, soul music, rock music - every song is a sign." Marley's own particular symbolism derived from his beliefs as a Rastafarian - a sect that revered Emperor Haile Selassie I of Ethiopia (a.k.a. Ras Tafari) as a living god who would lead oppressed blacks back to an African homeland - and his firsthand knowledge of the deprivations of the Jamaican ghettos. His lyrics mixed religious mysticism with calls for political uprising, and Marley delivered them in a passionate, declamatory voice. Reggae's loping, hypnotic rhythms carried an unmistakable signature that rose to the fore of the music scene in the Seventies, largely through the recorded work of Marley and the Wailers on the Island and Tuff Gong labels. Such albums as Natty Dread and Rastaman Vibration endure as reggae milestones that gave a voice to the poor and disfranchised citizens of Jamaica and, by extension, the world. In so doing, he also instilled them with pride and dignity in their heritage, however sorrowful the realities of their daily existence.

Moreover, Marley's reggae anthems provided rhythmic uplift that induced what Marley called "positive vibrations" in all who heard it. Regardless of how you heard it - political music suitable for dancing, or dance music with a potent political subtext – Marley's music was a powerful potion for troubled times. Marley was born on Jamaica to a young black mother and an older white father. A precocious musician, a teenaged Marley formed a vocal trio in 1963 with friends Neville "Bunny" O'Riley Livingston (later Bunny Wailer) and Peter McIntosh (later Peter Tosh). The group members had grown up in Trench Town, a ghetto neighborhood of Kingston, listening to rhythm and blues on American radio stations. They heard such R&B mainstays as Ray Charles, the Drifters, Fats Domino and Curtis Mayfield. They took the name the Wailing Wailers (shortened to the Wailers) because they were ghetto sufferers who'd been born "wailing." As practicing Rastas, they grew their hair in dreadlocks and smoked ganja (marijuana), believing it to be a sacred herb that brought enlightenment.

The Wailers recorded prolifically for small Jamaican labels throughout the Sixties, during which time ska – Jamaican dance music that drew from African rhythms and New Orleans R&B – was the hot sound. The Wailers had their first hit in 1963 with "Simmer Down," and they went on to record 30 sides in the "rude boy" ska style for Jamaican soundman Coxsone Dodd's Studio One. By this time, Marley's preoccupations were taking a spiritual turn, and Jamaican music itself was changing from the bouncy ska beat to the more sensual rhythms of rock steady. An association with Jamaican producer Lee Perry resulted in some of the Wailers' memorable recordings, including "Soul Rebel" and "Duppy Conqueror," and the albums Soul Rebel and Soul Revolution. Though the Wailers were popular in Jamaica, it was not until the group signed with Chris Blackwell's Island Records in the early Seventies that they found an international audience.

Their first recordings for Island, Catch a Fire (1973) and Burnin' (1973), were hard-hitting albums full of what critic Robert Christgau called Marley's "melodic propaganda." The latter contained "I Shot the Sheriff." Reggae aficionado Eric Clapton's version of the song went to #1 in 1974, which further carried the name of Marley and the Wailers beyond their Jamaican home base. With the departure of founding members Peter Tosh and Bunny Wailer after Burnin', Marley took center stage as singer, songwriter and rhythm guitarist. Backed by a first-rate band and the I-Threes vocal trio – which included his wife, Rita – Marley rose to the occasion with 1974's Natty Dread (his first album to chart in America) and the string of politically charged albums that followed.

These included Rastaman Vibration, his highest-charting album (1976, #8); the fiery, oratorical Exodus (1977, #20); the mellow, herb-extolling Kaya (1978, #50), the live double-album Babylon by Bus (#1978, #102), and the politicized, defiant Survival (1979, #70) and Uprising (1980, #46). Uprising was the last studio album released during Marley's lifetime. So influential a cultural icon had Marley become on his home island by the mid-Seventies that Time magazine proclaimed, "He rivals the government as a political force." On December 5, 1976, Marley was scheduled to give a free "Smile Jamaica" concert, aimed at reducing tensions between warring political factions. Two days before the scheduled concert, he and his entourage were attacked by gunman.

Though Bob and Rita Marley were grazed by bullets, they electrified a crowd of 80,000 people when both took to the stage with the Wailers on the 5th - a gesture of survival that only heightened Marley's legend. It further galvanized his political outlook, resulting in the most militant albums of his career: Exodus, Survival and Uprising. He was particularly moved throughout his career by the gulf between haves and have-nots, a culture of oppression that was particularly glaring in his poverty- and crime-ridden Jamaican homeland. "We should all come together and creative music and love, but [there] is too much poverty," Marley told writer Timothy White in 1976. "The most intelligent people [are] the poorest people...[but] people don't get no time to feel and spend [their] intelligence...The intelligent and innocent are poor, are crumbled and get brutalized. Daily." Given the violent culture that he survived and transcended, Marley's death seems almost cruelly flukish. In 1977, surgeons removed part of a toe that had been injured in a soccer game, upon which a cancerous growth was found.

This led to the discovery of spreading cancer in 1980, after Marley collapsed while jogging in Central Park, that claimed his life less than a year later. Though he died prematurely at age 36, the heartbeat reggae rhythms of the enormous body of music that Bob Marley left behind have endured. Moreover, Jamaica itself has been transformed by his charismatic personality and musical output. Marley was buried on the island with full state honors on May 21, 1981. In a crowning irony, given the reviled status that Rastafarians and their music had once suffered at the hands of the Jamaican government, Marley's pacifist reggae anthem, "One Love," was adapted as a theme song by the Jamaican Tourist Board. Meanwhile, Marley's music continues to find an audience. With sales of more than 10 million in the U.S. alone, Legend - a best-of spanning the Island Records years (1972-1981) - remains the best-selling album by a Jamaican artist and the best-selling reggae album in history.

Bob Marley | New Music And Songs | Bob Marley About Bob Marley Reggae's most transcendent and iconic figure, Bob Marley was the first Jamaican artist to achieve international superstardom, in the process introducing the music of his native island nation to the far-flung corners of the globe. Marley's music gave voice to the day-to-day struggles of the Jamaican experience, vividly capturing not only the plight of the country's impoverished and oppressed but also the devout spirituality that remains their source of strength. His songs of faith, devotion, and revolution created a legacy that continues to live on not only through the music of his extended family but also through generations of artists the world over touched by his genius. Robert Nesta Marley was born February 6, 1945, in rural St. Ann's Parish, Jamaica; the son of a middle-aged white father and teenaged black mother, he left home at 14 to pursue a music career in Kingston, becoming a pupil of local singer and devout Rastafarian Joe Higgs. He cut his first single, "Judge Not," in 1962 for Leslie Kong, severing ties with the famed producer soon after over a monetary dispute.

In 1963 Marley teamed with fellow singers Peter Tosh, Bunny Livingston, Junior Braithwaite, Beverly Kelso, and Cherry Smith to form the vocal group the Teenagers; later rechristened the Wailing Rudeboys and later simply the Wailers, they signed on with producer Coxsone Dodd's legendary Studio One and recorded their debut, "I'm Still Waiting." When Braithwaite and Smith exited the Wailers, Marley assumed lead vocal duties, and in early 1964 the group's follow-up, "Simmer Down," topped the Jamaican charts. A series of singles including "Let Him Go (Rude Boy Get Gail)," "Dancing Shoes," "Jerk in Time," "Who Feels It Knows It," and "What Am I to Do" followed, and in all, the Wailers recorded some 70 tracks for Dodd before disbanding in 1966. On February 10 of that year, Marley married Rita Anderson, a singer in the group the Soulettes; she later enjoyed success as a member of the vocal trio the I-Threes.

Marley then spent the better part of the year working in a factory in Newark, DE, the home of his mother since 1963. Upon returning to Jamaica that October, Marley re-formed the Wailers with Livingston and Tosh, releasing "Bend Down Low" on their own short-lived Wail 'N' Soul 'M label; at this time all three members began devoting themselves to the teachings of the Rastafari faith, a cornerstone of Marley's life and music until his death. Beginning in 1968, the Wailers recorded a wealth of new material for producer Danny Sims before teaming the following year with producer Lee "Scratch" Perry; backed by Perry's house band, the Upsetters, the trio cut a number of classics, including "My Cup," "Duppy Conqueror," "Soul Almighty," and "Small Axe," which fused powerful vocals, ingenious rhythms, and visionary production to lay the groundwork for much of the Jamaican music in their wake.

Upsetters bassist Aston "Family Man" Barrett and his drummer brother Carlton soon joined the Wailers full-time, and in 1971 the group founded another independent label, Tuff Gong, releasing a handful of singles before signing to Chris Blackwell's Island Records a year later. 1973's Catch a Fire, the Wailers' Island debut, was the first of their albums released outside of Jamaica, and immediately earned worldwide acclaim; the follow-up, Burnin', launched the track "I Shot the Sheriff," a Top Ten hit for Eric Clapton in 1974. With the Wailers poised for stardom, however, both Livingston and Tosh quit the group to pursue solo careers; Marley then brought in the I-Threes, which in addition to Rita Marley consisted of singers Marcia Griffiths and Judy Mowatt. The new lineup proceeded to tour the world prior to releasing their 1975 breakthrough album Natty Dread, scoring their first U.K. Top 40 hit with the classic "No Woman, No Cry." Sellout shows at the London Lyceum, where Marley played to racially mixed crowds, yielded the superb Live!

later that year, and with the success of 1976's Rastaman Vibration, which hit the Top Ten in the U.S., it became increasingly clear that his music had carved its own niche within the pop mainstream. As great as Marley's fame had grown outside of Jamaica, at home he was viewed as a figure of almost mystical proportions, a poet and prophet whose every word had the nation's collective ear. His power was perceived as a threat in some quarters, and on December 3, 1976, he was wounded in an assassination attempt; the ordeal forced Marley to leave Jamaica for over a year. 1977's Exodus was his biggest record to date, generating the hits "Jamming," "Waiting in Vain," and "One Love/People Get Ready"; Kaya was another smash, highlighted by the gorgeous "Is This Love" and "Satisfy My Soul." Another classic live date, Babylon by Bus, preceded the release of 1979's Survival. 1980 loomed as Marley's biggest year yet, kicked off by a concert in the newly liberated Zimbabwe; a tour of the U.S.

was announced, but while jogging in New York's Central Park he collapsed, and it was discovered he suffered from cancer that had spread to his brain, lungs, and liver. Uprising was the final album released in Marley's lifetime -- he died May 11, 1981, at age 36. Posthumous efforts including 1983's Confrontation, the best-selling 1984 retrospective Legend, and the 2012 documentary Marley kept the man's music alive, and his renown continued to grow in the years following his death -- even decades after the fact, he remains synonymous with reggae's world-wide popularity. In the wake of her husband's passing, Rita Marley scored a solo hit with "One Draw," but despite the subsequent success of singles "Many Are Called" and "Play Play," she had largely withdrawn from performing to focus on raising her children by the mid-'80s.

Oldest son David, better known as Ziggy, went on to score considerable pop success as the leader of the Melody Makers, a Marley family group comprised of siblings Cedella, Stephen, and Sharon; their 1988 single "Tomorrow People" was a Top 40 U.S. hit, a feat even Bob himself never accomplished. Other Marley children -- including Damian, Julian, and Ky-Mani -- pursued careers in music as well. ~ Jason Ankeny, Rovi Bob Marley & The Wailers — Listen for free on Spotify Bob Marley & The Wailers Play on Spotify Reggae's most transcendent and iconic figure, Bob Marley was the first Jamaican artist to achieve international superstardom, in the process introducing the music of his native island nation to the far-flung corners of the globe. Marley's music gave voice to the day-to-day struggles of the Jamaican experience, vividly capturing not only the plight of the country's impoverished and oppressed but also the devout spirituality that remains their source of strength.

His songs of faith, devotion, and revolution created a legacy that continues to live on not only through the music of his extended family but also through generations of artists the world over touched by his genius. Robert Nesta Marley was born February 6, 1945, in rural St. Ann's Parish, Jamaica; the son of a middle-aged white father and teenaged black mother, he left home at 14 to pursue a music career in Kingston, becoming a pupil of local singer and devout Rastafarian Joe Higgs . He cut his first single, "Judge Not," in 1962 for Leslie Kong, severing ties with the famed producer soon after over a monetary dispute.

In 1963 Marley teamed with fellow singers Peter Tosh , Bunny Livingston, Junior Braithwaite, Beverly Kelso, and Cherry Smith to form the vocal group the Teenagers; later rechristened the Wailing Rudeboys and later simply the Wailers , they signed on with producer Coxsone Dodd's legendary Studio One and recorded their debut, "I'm Still Waiting." When Braithwaite and Smith exited the Wailers , Marley assumed lead vocal duties, and in early 1964 the group's follow-up, "Simmer Down," topped the Jamaican charts. A series of singles including "Let Him Go (Rude Boy Get Gail)," "Dancing Shoes," "Jerk in Time," "Who Feels It Knows It," and "What Am I to Do" followed, and in all, the Wailers recorded some 70 tracks for Dodd before disbanding in 1966. On February 10 of that year, Marley married Rita Anderson , a singer in the group the Soulettes; she later enjoyed success as a member of the vocal trio the I-Threes.

Marley then spent the better part of the year working in a factory in Newark, DE, the home of his mother since 1963. Upon returning to Jamaica that October, Marley re-formed the Wailers with Livingston and Tosh , releasing "Bend Down Low" on their own short-lived Wail 'N' Soul 'M label; at this time all three members began devoting themselves to the teachings of the Rastafari faith, a cornerstone of Marley's life and music until his death. Beginning in 1968, the Wailers recorded a wealth of new material for producer Danny Sims before teaming the following year with producer Lee "Scratch" Perry ; backed by Perry 's house band, the Upsetters , the trio cut a number of classics, including "My Cup," "Duppy Conqueror," "Soul Almighty," and "Small Axe," which fused powerful vocals, ingenious rhythms, and visionary production to lay the groundwork for much of the Jamaican music in their wake.

Upsetters bassist Aston "Family Man" Barrett and his drummer brother Carlton soon joined the Wailers full-time, and in 1971 the group founded another independent label, Tuff Gong , releasing a handful of singles before signing to Chris Blackwell's Island Records a year later. 1973's Catch a Fire, the Wailers ' Island debut, was the first of their albums released outside of Jamaica, and immediately earned worldwide acclaim; the follow-up, Burnin', launched the track "I Shot the Sheriff," a Top Ten hit for Eric Clapton in 1974. With the Wailers poised for stardom, however, both Livingston and Tosh quit the group to pursue solo careers; Marley then brought in the I-Threes, which in addition to Rita Marley consisted of singers Marcia Griffiths and Judy Mowatt . The new lineup proceeded to tour the world prior to releasing their 1975 breakthrough album Natty Dread, scoring their first U.K. Top 40 hit with the classic "No Woman, No Cry." Sellout shows at the London Lyceum, where Marley played to racially mixed crowds, yielded the superb Live!

later that year, and with the success of 1976's Rastaman Vibration, which hit the Top Ten in the U.S., it became increasingly clear that his music had carved its own niche within the pop mainstream. As great as Marley's fame had grown outside of Jamaica, at home he was viewed as a figure of almost mystical proportions, a poet and prophet whose every word had the nation's collective ear. His power was perceived as a threat in some quarters, and on December 3, 1976, he was wounded in an assassination attempt; the ordeal forced Marley to leave Jamaica for over a year. 1977's Exodus was his biggest record to date, generating the hits "Jamming," "Waiting in Vain," and "One Love/People Get Ready"; Kaya was another smash, highlighted by the gorgeous "Is This Love" and "Satisfy My Soul." Another classic live date, Babylon by Bus, preceded the release of 1979's Survival. 1980 loomed as Marley's biggest year yet, kicked off by a concert in the newly liberated Zimbabwe; a tour of the U.S.

was announced, but while jogging in New York's Central Park he collapsed, and it was discovered he suffered from cancer that had spread to his brain, lungs, and liver. Uprising was the final album released in Marley's lifetime -- he died May 11, 1981, at age 36. Posthumous efforts including 1983's Confrontation, the best-selling 1984 retrospective Legend, and the 2012 documentary Marley kept the man's music alive, and his renown continued to grow in the years following his death -- even decades after the fact, he remains synonymous with reggae's world-wide popularity. In the wake of her husband's passing, Rita Marley scored a solo hit with "One Draw," but despite the subsequent success of singles "Many Are Called" and "Play Play," she had largely withdrawn from performing to focus on raising her children by the mid-'80s.

Oldest son David, better known as Ziggy , went on to score considerable pop success as the leader of the Melody Makers , a Marley family group comprised of siblings Cedella, Stephen , and Sharon; their 1988 single "Tomorrow People" was a Top 40 U.S. hit, a feat even Bob himself never accomplished. Other Marley children -- including Damian , Julian , and Ky-Mani -- pursued careers in music as well. ~ Jason Ankeny, Rovi Read More Show less

Question: Which island was the home of Bob Marley, who died in 1981?
Answer: Jamaica